In this essay, Xavier Woodgate argues against Walter Benjamin’s claim that film, as a mechanically reproduced work of art, no longer possesses an ‘aura’, and that, rather, having left the spotlight of contemporaneity that Benjamin thought of film in, it has achieved a historicity that has established an ‘aura’ for film. However, Woodgate does not eschew Benjamin’s claim against the loss of aura in mechanically reproduced works entirely, and he maintains it against some contemporary developments in the mechanical reproduction of art through a diachronic analysis of the evolution of film into livestreaming.